The movie is called “Lola Versus,” purposely leaving the name of the second combatant open. Because really, some days, when it comes to Lola’s fight card, it’s not that hard to fill in the blank – fiancé, friends, faculty advisors, family. And she’s only 29.

Maybe 30 is going to get better.

It has to, right?

“Lola Versus” was cowritten by the couple Daryl Wein and Zoe Lister-Jones, both actors; Wein directed the film, while Lister-Jones, not surprisingly, gave herself the part of the heroine’s wisecracking best friend, always the best role in movies like this.

The filmmakers give the project a fresh take, too, including a pleasantly feminist slant. Lola constantly makes mistakes, but they’re usually her mistakes; the movie’s ending is one of the simplest (and yet, most liberating) romance-movie finales since “Living Out Loud.”

That’s all great. Yet the filmmakers also have a bad case of myopia when it comes to their heroine, who – like the characters on TV’s “Girls” – may not engender all the empathy they’re counting on.

Economically, Lola should be living on ramen. She’s an English-lit doctoral student (and, clearly, not a particularly driven one). She doesn’t have a job (until late in the film, when her restaurateur mother throws her some waitressing work which, predictably, Lola does poorly).

And yet Lola has her own Manhattan apartment, and the time and money for yoga classes, a gym membership, hypnotherapy appointments, shoe shopping and big parties (not to mention, at one point, a big planned “destination wedding” for Mexico).

And never once worries about how to pay for any of it?

I’m sorry, but I half-agree with Fitzgerald. The rich are different from you and me. Except, they have it easier -- and it would be easier for me to sympathize with them in the movies if their characters ever acknowledged just how privileged they were.

Even without that nod to real life, much of this annoyance can be washed away if the actress is charismatic enough (no one, for example, ever hated “Bringing Up Baby” just because Katharine Hepburn’s heroine was fabulously wealthy).

Gerwig, though, is just a little too much of a sleepwalker to win any real adult’s compassion.

She’s been pushed as the next-big-thing for awhile now. Yet unlike Diane Keaton, her clearest antecedent, she doesn’t come across as daffy so much as simply dazed and a little spoiled. You don’t want to give Gerwig a hug. You want to give her a cup of coffee, and a maybe a shake.

Lister-Jones has a terrific amount of fun – as she should -- with the bitter part she’s written for herself, although some of her lines are more icky than wacky. There’s also the seen-too-rarely presence of Debra Winger, as Lola’s mother.

But in the end “Lola Versus” is still, obviously, about Lola. And this is not someone I want to spend almost an hour-and-a-half with in a theater. This is someone I would move away from if she sat behind me on the train – knowing that, within seconds, her cell phone would be out, and the sing-song whine of neuroses would begin.